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image SM 54/2/4

Reference number

SM 54/2/4

Purpose

[65] Design for the ground floor of Holy Trinity Church, London, January 1825

Aspect

Plan of a church of five by nine bays. On the entrance front, the central three bays are recessed behind a colonnade of four columns. The columns are flanked by two towers containing internal staircases. The interior is divided into a nave and two side aisles articulated by free-standing columns, and containing pews in the naves and aisles, with poor benches down the centre, and in the aisles, and the rear of the nave. At the end of the nave are the pulpit and reading desk. At the rear of the chancel is the altar with the altar rail in front, and the robing room and vestry placed either side. Beyond is the rear entrance with a colonnade behind the steps, and it is flanked by towers containing internal staircases. Red pen is used for centring, and a faint pencil design, perhaps a pipe, is on the right-hand side

Scale

bar scale of 1 inch to 5 feet

Inscribed

7 / No.1. / (in pencil) No 2 / Ground Plan of a Design for a church to be erected in the Eastern Division of the Parish of St. Marylebone. / Front Extends / Staircase / Vestibule / Staircase / Front Extends / Free Seats / Free Seats / Clerk / Pulpit / Reading Desk / Robing Room / Stone / Communion Table / Stone / Area. / Vestry Room / Staircase / Lobby / Lobby / Staircase

Signed and dated

  • January 1825
    Lincolns Inn Fields / January 1825

Medium and dimensions

Pencil, pen, red pen, wash, coloured washes of brown, pink, red and yellow, and pricked for transfer on wove paper (742 x 527)

Hand

Soane Office, draughtsman

Watermark

J WHATMAN / TURKEY MILL / 1823

Level

Drawing

If you have any further information about this object, please contact us: drawings@soane.org.uk

Sir John Soane's collection includes some 30,000 architectural, design and topographical drawings which is a very important resource for scholars worldwide. His was the first architect’s collection to attempt to preserve the best in design for the architectural profession in the future, and it did so by assembling as exemplars surviving drawings by great Renaissance masters and by the leading architects in Britain in the 17th and 18th centuries and his near contemporaries such as Sir William Chambers, Robert Adam and George Dance the Younger. These drawings sit side by side with 9,000 drawings in Soane’s own hand or those of the pupils in his office, covering his early work as a student, his time in Italy and the drawings produced in the course of his architectural practice from 1780 until the 1830s.

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